cornetdeschats
-
Posts
53 -
Joined
-
Last visited
Posts posted by cornetdeschats
-
-
They did not arrive together, but I gather that Mr Raymond D. Ating and Constanza Cave have been associated for some time.
-
Mr & Mrs Bella, and their ravishing daughter Clara,
The noble Mr & Mrs Yon-des-Heures-de-Soissons and their daughter Carol
-
or perhaps the choir ...
-
pardon my ignorance, but what are the titles of the last three tracks (09/10/11) on the Pilgrim LP download? many thanks.
-
The links to Diane Bish are very good fun - I thought this was a bit of a bizarre registration
. But it made me think of the Allypallyorgan site http://allypallyorgan.org.uk/recordings.php the recording of Dupre playing the Widor V Allegro Vivace is scorching. Is anyone here involved with the restoration project by any chance? -
Superb stuff, the Bach is a revelation - extraordinary clarity and use of timbres etc. But is this really St Michael's Cornhill? The acoustic sounds far roomier than I would have expected (I would have thought it would sound more like St M-i-t-F).
-
I actually don't like the Victorian reordering at Chch, at all. I've always wanted to move things around things a little, moving the organ to the smaller transept. I think one of the problems (besides loud voicing and the inexplicable swell reeds) is that against the west wall, absolutely everything can be heard, and there is no space for the sound to develop. I'm always obsessed by the pedalling of whoever is playing because every nuance can be heard, as if one were actually inside the instrument. If i, and the choir were under the crossing, I think the whole aural experience would be completely different.
About cases and whatnot, I know a few very successful organs in quite large buildings (Chch size) that just have a Bourdon 16' and an Open Diapason 16' which is also stopped, but louder voiced. I've always found these totally suitable for congregations of a few hundred and a choir, a smooth woody trombone providing any extra meat required. What about a similar scheme at Chch?
-
I. Great
Contra Tromba 16’
Sesquialtera III
Octaaf 4’
Flûte harmonique 4’
Hohlflute 8’
Dulcie Arner 8’
Open-diapason 8’
GrossGeigen 16’
II. Choir
Vox Humana 8’
Nachthorn 4’
Barpfeife 8’
Holz Gedeckt 8’
III Swell
Clarion 4’
Cornopean 8
Contraposaune 8’
Contrabombarde 32
Celeste 8’
Dull strings 8’
IV Solo
TubaMagna91 8’ (quite seriously harmonic trebles)
Cornetdeschats III
Echo Gamba 8’
More dull strings 8’
V Hallowe’en
Célestin 8’
Voix Mystique 8’
Vox Aetheria 8’
Pedal
Bombardon32 Undamaris32’
Double Ophicleide 32
Contrabordun 32
Accessories
Cymbelstern
Cynic
As you see, the organ is inspired by a late Harrison-Hope-Jones. The refined reeds of this instrument comprise both excellent chorus and solo voices. The delicate harmonic TubaMagna91 (11.5 x length) is suitable both for solo lines in Stanley voluntaries and to top off the solo chorus. The Swell allows a delicious mix of accompanimental effects, including a micro-Full Swell of just the Contrabombarde 32' and strings. Finally the Bombardon32 Undamaris is so constructed to beat with both the Contrabordun and Double Ophicleide 32, providing that much sort after underpinning for the delicate swell celeste which organists have often called for.
-
Dear All, as the Sunday after Christmas falls on HI this year, I realise I have no idea how to play it. the Motet is the Coventry Carol, but what would you suggest for afters? I don't suppose Andrew Carter wrote an equally useful fantasia on Lullay Lulla...
Many thanks
-
Dear all,
Supposing one were to make a critical assessment of the discussion and particularly forms of argument surrounding organ design in Britain in the twentieth century, especially surrounding the Organ Reform Movement, what works would be considered essential reading?
I have copy of the Clutton & Niland The British Organ, a very general book on the Organ by Arthur Wills, and hope to get something by Bonavia Hunt. Obviously Baroque Tricks must be central -incidentally if anyone has a spare copy of this I would be delighted to purchase it-, but what other books and articles would you consider centre to the dialectic?
Much obliged for suggestions, Cornetdeschats (III)
-
Gosh, thanks for that! It in an enormous improvement on the quality of Choral Evensong listen again on the BBC. Do wish the those wretched students would wait till the end of the voluntary, the Elgar is full of sqeaky shoes. Is that the Trompeta Real in the 'ta tumpy tumpy' bits?
The organ sounding magnificent as ever -I find it strange that this instrument doesn't get more mention on the forum, it always blew my socks off.
-
I was rather hoping the Greek would shed some light on it (if somehow the inscription transliterated the NT Greek), but as you see the formulation of the wordplay is almost identical to the Latin:
κἀγὼ δέ σοι λέγω ὅτι σὺ εἶ πέτρος, καὶ ἐπὶ ταύτῃ τῇ πέτρᾳ οἰκοδομήσω μου τὴν ἐκκλησίαν, καὶ πύλαι ᾅδου οὐ κατισχύσουσιν αὐτῆς.
Does the contraction of petros/petra(m) unite the concept of Peter and the Church in an intentionally symbolic way perhaps?
-
From what has been written on this site and other forums, Trinity's Metzler seems a widely admired instrument. I was just wondering if anyone in this forum had experience of the previous incarnation- (apologies if I have overlooked a previous discussion that dealt with this.)
-
Not sure if it's bad manners to post one's home organ on such a topic, but this case, in such a small country church always struck me as pretty wonderful. I believe the tonal scheme was drawn up by Revd Freeman during his lifetime. The case is apparently a copy of somewhere in Austria. An interesting specification- there was a thread on 32's in two manual schemes somewhere on this board. Found plenty of use before midnight mass and so on underneath an lilting clarinet solo (Great Dulciana, absolutely invaluable here).... all in very good taste you understand.............
Incidentally, if anyone knows where the original case is located I'd be delighted to know.
http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N05780
-
The way I understand it, half pull draws one of the ranks of the compound stop. In this case the fifteenth which runs through the composition of the III-rank sesquialtera 12- 15- 17 and the cornet which is the same.
just realised that the cornet could not be carried below tc, so the 2' flageolet would not work.
-
Please excuse my ignorance: does one of these stops mean you can have either of the associated ranks but not both?
The way I understand it, half pull draws one of the ranks of the compound stop. In this case the fifteenth which runs through the composition of the III-rank sesquialtera 12- 15- 17 and the cornet which is the same.
-
I think the sort of half-pull/full pull stops are quite exciting whether or not they actually save space. Anyone have any idea whether this would work?
Swell [enclosed]
Oboe 8'
Echo cornet III [full pull] Flageolet 2' [half pull]
Principal 4'
Echo Dulciana 8' [tc]
Chimney flute 8'
Great
Sesquialtera III [full pull] Fifteenth 2' [half pull]
Nason flute 4'
Principal 4'
Stopped diapason 8'
Open diapason 8'
Pedal
Double diapason 16' (stopped)
Open diapason 8' [by communication from Great]
Principal 4' [ditto]
-
http://cambridge.facebook.com/group.php?gid=2217795000
Coe Fen has quite the following at Oxbridge too, funny to think of a hymn tune having an appreciation society, I think its being sung regularly on the Eton Choral courses has done much to promote it.
-
Please allow me to vent my wrath on the habit members of the congregation have of singing the DVW descants. Tonight must have been a record, two ladies in the congregation singing slightly different versions of the CFC stuff not just for the last verse but for all of them!
It must be the worse feeling in the world when you hear a doomed descant drifting up to the organ loft, they usually start out OK, but then end with a suprised squawk as the tune somehow doesn't fit to the regular harmonisation I'm playing. I only wish I had the music at hand to rescue them.
Not the most irritating thing though, the Vicar exhorted everyone to stay in their seats for the FIRST movement from Org Symph no 5, the variations in F minor "WHICH I BELIEVE IS THE FAMOUS TOCCATA." -'Nope' Anyhow that did not stop a couple of ladies commenting that they had had the piece at their weddings and thought I played it very well. 'And weren't the descants lovely.'
Just after I had finished her carers were able to ascertain that an old dear in the congregation was not in fact dead, but had been wrapped up too tightly against the cold and had passed out for want of breath.
I kid you not.
-
The case looks a bit 'flat pack' though!
AJJ
Now you come to mention it, it does look exactly like something from IKEA, it's just the right coulour pine (or pine effect?) The contrast is even more striking given its neighbour, which is pretty stonking by contrast. Still, given what it has replaced (with respect as ever to our hosts...)
-
I suspect everyone will be aware of the latest instrument in Cambridge, although I have not read a discussion thereof on this board: the new khun in Jesus College. It's interesting to see the romantic specification of the new organ. Apparently it has transformed choral services in the building 'The chapel has acquired an acoustic!'
http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=E01245
-
On a simialar vein, I've been asked to do a short solo in a local carol service. Having played the Fantasia on In dulci Iubilo and Wachet auf the last two years, I was thinking of Franck's Grand Choeur in C, as the 'dumpy dumpy dum, dumpy dumpy dum' bit is alledgedly an old French Noel. The organ I'm using has quite brash reeds, in particular the Gt trumpet thunders in the bass, but is curiously mild in the treble, and sounds like a painfully loud clarinet. Would any of you be prepared to listen to the piece as a solo? Its a bit sparsely written as I believe it was a harmonium piece originally.
-
Since size would obvs be an issue, what about the idea of having swell reeds reeds (particularly the clarinet, for promiscuous use in Stanford et al) available on the choir. Then both the solo and accomp would be under expression, and the choir could go in the normal ruckpos position without the extra machinery.
Subbass 32’ (A)
Open Diapason 16’
Bourdon 16’ (A)
Principal 8’
Flute 8’
Fifteenth 4’
Trombone 16’
Trumpet 8’ (gt)
Swell
Enclosed
Open Diapason 8’
Salicional 8’
Chimney Flute 8’
Vox Celeste 8’
Principal 4’
Fifteenth 2’
Mixture III
Double Clarinet 16’ + Extra Octave
Hautboy 8’
Cornopaean 8’
Great
Bourdon 16'
Open Diapason 8’
Hohl Flute 8’
Principal 4’
Flageolet 2’
Cornet V
Quint Mix II (2 2/3' + 2'
Great Mixture IV
Trumpet 8’
Choir
Stopped Diapason 8’
Principal 4’
Stopped Flute 4’
Salicet 4’
Doublet 2’
Sesquialtera III
Trumpet 8’
Swell Clarinet 8’
Swell Oboe 8’
-
Still, wouldn't it be great to have at least one place in Oxford capable of the old Celestes + 32p accompaniment in psalms and what have you...
Late Arrivals At The Organists' Ball
in General discussion
Posted
Langlais?
My rather offensive effort: A few trunks short of a picnic, tosser? (8/12)